Farnesina

Viuva Lamego Ceramic is a prestigious Portuguese ceramics company renowned for its production of high-quality artistic tiles, particularly azulejos. The company was founded in 1849 b...

Set of 16 wooden chairs. Cropped backrests decorated with plant motifs, flanked by turned columns. It rests on four turned legs joined by crosspieces and winding headband. Seats and ...

This intricated detailed Neoclassic golden wood mirror is a testatment to good taste that it is still relevant on the XXI Century. Offering possibilities of different placement this...

Small set of living room and bedoom chairs in Louis XVI style in Wicker Artistry Work. Beautiful carved in dark wood work it strikely contrasts to the lighter material that was for ...

This chest or Ark depending on the use and function predetermined by the previous owners, boast an ellaborate and beautiful color pigments painted on the leather that covers the wood...

Mostly found to embelish and side furniture in hall ways and bedrooms, these painted wood work chairs of the XIX Century, besides offering excellent seat position, are in good condit...

Low center table, square, in carved and polygrommed wood in green and gold.

Pair of chimeras covered in gold and copper. Creatures from Chinese mythology, combination of different animals that have different supernatural characteristics.

Pair of chairs in the style of Carlos IV lacquered in white and gold and stuffed. Chairs in the artistic style of the last quarter of the 18th and early 19th centuries. Use of noble ...

Neo-Egyptian sculpture in stone and cement, this sculpture was a previous building façade in Barcelona, from the 19th century. Neo-Egyptian Architecture, also called Egyptian Revi...

Pair of Chinese ceramic pots, adapted for lamps. Polychrome decoration with fruits, flowers, birds and reserves with garden views with figures and characters. Based on patinated wood...

A Neo-Classical Portuguese mirror from the 19th century. Crafted in the Neo-Classical style, which was popular during the 19th century in Portugal. ...

Console of wood painted in white and gold, with marbled top. Raised with mirror with oil painting on canvas with country motifs. Work of the North of Portugal of the end of the centu...

PORTRAIT OF D. MARIA BÁRBARA DE BRAGANÇA (1711-1758), QUEEN OF SPAIN Circle of Louis-Michel van Loo (1707-1771) Oil on canvas Her Royal Highness, the Infanta Maria Barbara of Braganza (1711-1758) was the first-born child of King John V of Portugal (1689-1750) and his queen consort Maria Anna of Austria (1683-1754). Born in December 1711, she had the Convent Palace of Mafra built in her honour following a vow made by her royal father. Her status as Princess of Brazil, inherent to 18th century Portuguese presumptive heirs, would however be superseded once the queen gave birth to two male princes, D. Pedro (1712-1714) and D. José (1714-1777), preventing her from ascending to the throne. Daughter of one of the most illustrious monarchs of his time, Maria Barbara was carefully educated to become a fond admirer of the arts, and of music in particular, having had the Italian composer Domenico Scarlatti (1685-1757) as her music teacher. On the 10th January 1723 the young princess was betrothed to the Infante Ferdinand of Spain (1713-1759), eldest son of King Philip V (1683-1746). Six years later, on the 19th January, she entered her new country in a carefully choreographed ceremony that became known to history as the “Exchange of the Princesses”. This unique event took place on a specially built Bridge-Palace, a wooden, luxuriously decorated structure that included various modules and rooms, on both banks of the river Caia, the natural border between the town of Elvas in Portugal and of Badajoz in Spain. Simultaneously, on the same day that the Portuguese Infanta crossed the border to marry the Spanish Crown Prince, her new sister in law, the Infanta Mariana Victoria of Bourbon (1718-1781), her husband’s sister, crossed the same bridge in the opposite direction to marry Prince D. José, the Portuguese heir to the throne. Once married, Maria Barbara would spend 17 years as Princess of Asturias, only becoming Queen of Spain at her husband’s accession following the death of Philip V in 1746. She is portrayed in the 1743 painting by Louis-Michel van Loo (1707-1771) now in the Prado Museum, in which Philip V had himself represented with all his close family. The new Queen would take an important role at court eventually becoming the liaison between her husband and the King of Portugal, particularly throughout the negotiations for the Treaty of Madrid (1746-1750). Maintaining her interest in music, she patronized the Italian castrato singer Farinelli (1705-1782) while remaining close to her old master Scarlatti, having herself composed some sonatas for a large orchestra. She would also commission and fund the building of the Royal Salesians Monastery complex in central Madrid, where both her and Ferdinand VI are buried. The portrait we are presenting for sale shows the Queen in half-length, turning left at three quarters. She is wearing a blue low-cut dress embroidered with flowers and foliage, over a lace cuffed white blouse, and an ermine cloak pined on the left-hand side by a diamond broach. The powdered hair style is held sideways by a seven diamond and black plume headdress and topped by a small gold and pearl crown. The right arm rests on a cushion while the left hand, at chest height, holds a miniature male portrait. The Infanta’s features are analogous to the 1725 portrait by the painter Domenico Duprà (1689-1770), also in the Prado Museum collection. Further similarities can be found in another portrait by Louis-Michel van Loo, in which a seven diamond and black plume headdress is also present. In this work, the cushion supporting Maria Barbara’s right arm has also some obvious similarities to our painting. The same diamond headdress reappears in Van Loo’s above-mentioned portrait of Philip V’s family dated from 1743. It is nevertheless in Lisbon’s Ajuda National Palace that it is possible to find an almost identical depiction of the Infanta holding a miniature portrait of her husband. In it, the future Ferdinand VI is portrayed facing right at three quarters and wearing a curly wig, suit of armour, the golden fleece insignia and a blue band, in a composition that closely resembles an 18th century Spanish school painting that appeared in the art market in January 2016. Another detail common to various portraits of the Portuguese Infanta and Queen of Spain is the small gold and pearl crown on her head. In another Van Loo painting, also from the Prado Museum, in which Maria Barbara is portrayed as Queen, this crown is represented together with a headdress similar to the one previously described. Another two paintings by the same artist, at the Royal Academy of Saint Ferdinand, include the same ornament. We must also refer the paintings by the artist Jean Ranc (1674-1735). In one, dating from 1729 (Prado Museum), the Infanta is depicted outdoors holding a flower bouquet and wearing a yellow silk dress with red cloak, and a set of diamond and ruby jewellery that includes a headdress similar to the one present in our portrait. Another work by the same artist, belonging to the Complutence University of Madrid, depicts the Infanta sumptuously dressed in identical colours to our painting and wearing an elaborate headdress and diadem. These portraits, beyond their iconographical importance as contemporary records of the Infanta and Queen Maria Barbara, are also illustrative of 18th century fashion for jewelled head dressing. Often, flowers were combined with joyful adornments, composing almost theatrical displays that would reinforce the ostentatious nature of the image. The ornamental flowers and the chromatic character of the jewels would complement the luxury of the colourful dresses in blue, crimson, green or other silk shades, in compositions whose sole purpose was to highlight a royal sitter’s wealth and power, becoming an essential statement accessory within the strict court protocols and codes of conduct. Circle of Louis-Michel van Loo (1707-1771) Slowly but steadily, the resolute, tranquil and dignified attitude of Renaissance and Baroque portraiture becomes artificial and presumptuous. Mid 18th century society favours elusive expression and psychological deepness, albeit limited to the face, that, with emphasis on detail, on the rich colour palette and on changing costumes and landscapes, associated to the courtliness of gestures, creates a strongly artificial environment while maintaining a highly poetic intrinsic character. Louis-Michel van Loo followed a dynasty of famous Dutch origin artists that had settled in France. Initially taught by his father, Jean-Baptiste von Loo (1684-1745), the younger van Loo studied in Turin and Rome and frequented the Paris Academy. In Rome he worked with his uncle Charles-André van Loo (1705-1765) and become a painter for the Turin Court. In 1737 he arrived in Spain being summoned by Philip V to succeed Jean Ranc as painter of the king’s chamber. In Madrid, his work covers the numerous Court commissions and the Royal Saint Ferdinand Fine Arts Academy, of which he was a founding member and director for the Painting department in 1752. Is production at court consisted essentially of numerous portrait paintings, often Royal gifts...

Pair of appliques in carved and polychrome wood from Macau, 20th Century These appliques are crafted from wood that has been intricately carved and painted with polychrome colors,...

A "bottle" style lamp made of blown and molded green glass, electrified with an abat-jour (lampshade) attached. It dates back to the 19th century. During the 19th century, the use...

A male head study from the twentieth-century, in patinated plaster, possibly depicting a head of a friar, or a Saint. Patinated plaster sculpture is a process in which plaster is ap...

George III style tabletop mirror, lacquered in red and gold, original mirror. A George III style tabletop mirror, designed in the style popular during the reign of King George III o...

During the 20th century, decorative mirrors experienced various stylistic trends, and the "Sun" mirror design emerged as a popular choice. The frame is typically made of metal, often gold or brass, which gives it a luxurious and eye-catching appeal. The "Sun" mirror design draws inspiration from celestial motifs, with rays extending outward from the central mirror to mimic the rays of the sun. This design element symbolizes light, energy, and warmth, adding a touch of brightness and elegance to any space. The use of golden metal in the frame reflects a preference for opulence and a desire to incorporate rich materials into home decor during the 1980s. This mirrors the influence of the Art Deco and Hollywood Regency styles, which embraced glamorous and luxurious aesthetics. Spanish craftsmen...

Chinese porcelain dog from the 20th century.

Hex Game Table is a hexagon-shaped gaming table with wood carvings, green felt top, and golden bronze ashtrays. It has green leather armrests for greater comfort during games. This p...

The Empire style emerged in France during the early XIX century under the leadership of Emperor Napoleon Bonaparte. It is characterized by its prominent straight lines and geometric ...

This gold tin wall light is an exceptional piece of POILLERAT style, reminiscent of the glamor and sophistication of the 1970s. Made in France, this wall light is an example of the e...

Pastel on paper, representing Monkey by Teresa Lacerda 2014.

Wooden pedestal. 19th century Spain.

Pair of Louis XVI style corner tables. Carved wood, with traces of ancient gold and black marble tops. Portugal 19th century. Made by the french interior design, Lucien Donnat, who ...

Set of two Louis XVI Chairs, in carved walnut. France, 18th century (1774-1791) "slightly different cymbal". One of the most coveted items that r...

Venetian desk. Italy, early 20th century.

Pair of Louis XV style Fauteuils in gilded and patinated wood. France 20th century.

Pair of shell candelabra, Portugal 20th century.

Pair of Vista Alegre bottles, with silver lid. Portugal Sec XXPair of metal figures. Pierrot and Pantaleon. 19th Century Portugal.

Pair of metal figures. Pierrot and Pantaleon. 19th century France.

Terracotta vase. France 20th century.

D Joao V style miniature canapé. A small chaise longue in the style of D. João V, also known as Dom João V, that typically reflects the characteristics and ae...

Filipino style table, Portuguese 19th Century

Clay cooker Cordon Bleu in Terracota.

Aplique of 5 fires in wrought and gilded iron. Electrified. Portugal 30's.

Oil on canvas representing flowers. 19th century French School.

Porcelain Meissen cockatoo from 18th century. The Meissen porcelain factory has gained a reputation for its production of exquisite, high-quality por...

Small mirror - carved, gilded and marbled wood. 19th century Italy.

Set of canape and two bergers in walnut. Portugal 18th century. The furniture of D. José (1750-1777), although it inherits many characteristics of the previous period, D. João V (17...

18th century romantic mirror in Carved and Gilded Wood.

Two Fauteuils Louis XV, France 19th century.

Pair of faience corner brackets from Fabrica das Devezas. Portugal 19th century.

Pair of large corbels. Carved, marbled and gilded wood. Portugal 18th century

Countryside Landscape, Oil on canvas, signed. Beginning of the 19th century FRENCH

Chicken coop, Oil on canvas, late 18th century

Large Chinese ceramic plate. Swatow, Ming Dynasty.

Dom Joao V mirror, carved chestnut wood. Remains of ancient gilding. Portugal 18th century

Table with small objects 20th century by Teresa Lacerda.

Cradle for dolls in painted wood. Portugal 19th century

Dressing table, mahogany and other woods. Portugal 19th century.

Lacquered wood toilet box - Japan, 19th century.

Composition of 16 tiles with angel Portugal 18th century. Composition made in the late 20th century.

Rare Iconic piece by Rafael Bordalo Pinheiro, in terracotta, "Saloio e o Gato". Original piece without restoration.

Pair of mirrors with two-light appliqués. 19th century from Venice.

Femme au Jarre, Oil on canvas. 20th century.

Village Francais Oil on canvas Beginning of the 20th Century

Dead Nature Oil on wood, France 20th Century.

Countryside village oil on canvas France 19th century with minor losses.